martha marandino - university of são paulo

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The expositive discourse as pedagogical discourse:studying recontextualization in the productionof a science museum exhibition

Martha Marandino

Received: 28 July 2014 / Accepted: 28 July 2014! Springer Science+Business Media Dordrecht 2014

Abstract In this paper I report on the sociological and educational particulars of TheBiodiscovery Space exhibition of the Life Museum of the Oswaldo Cruz Foundation in Riode Janeiro, Brazil, using Basil Bernstein’s framework of pedagogic discourse and recon-textualization. Data for analysis was obtained from interviews with the exhibition devel-opers, field observations of museum visitors and analysis of exhibition documents. Usingthe ideas of power, classification and framework, among others, I analyzed the recon-textualization process of the production of expositive discourse. Thus, working withBernstein’s idea of classification, I explain the relationship between the discourses of thescience of biology, history of science, museology, education, and communication in orderto produce an expositive discourse. I also make explicit how agents of the Official Re-contextualization Field of the Museum and the Pedagogic Recontextualization Field ‘‘....ofthe Museum determine partly the final expositive discourse of an exhibition’’. Using theidea of a pedagogic discourse framework, I discuss how the constraints imposed by objectsand texts in exhibitions help to create a specific manner of visitor interaction with theseelements, ‘‘even if they have some autonomy’’. Considerations about the audience and theintended process of acquisition are presented, when I discuss the control strategies of theexhibition. I propose that the Biodiscovery Space exhibit has a visible pedagogy. Finally,using the collected data I discuss the power tensions created in the production of expositivediscourse showing how distributive, recontextualization and evaluation rules work in thecontext of exhibitions. The study of the dynamics in forming the expositive discourse usingBernstein’s framework reveals the individuals and institutions, the selection criteria, thenegotiations and the power relations involved. It has the potential to assist both educatorsand researchers in the museum education field, as well as designers to understand theteaching and learning processes that occur during a visit and to establish relevant criteria toevaluate quality to best produce exhibitions in science museums.

Lead Editor: A. J. Gallard M.

M. Marandino (&)Faculty of Education, University of Sao Paulo, Av. da Universidade 308, Sao Paulo, Brazile-mail: [email protected]

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Cult Stud of Sci EducDOI 10.1007/s11422-014-9625-9

Author's personal copy

Keywords Pedagogical discourse ! Recontextualization ! Expositive discourse ! Sciencemuseum education ! Basil Bernstein

Resumo Neste artigo estudei as particularidades educacionais dos museus de ciencias, nasua dimensao sociologica, a partir dos conceitos de discurso pedagogico e de recontex-tualizacao de Basil Bernstein. A exposicao Espaco Biodescoberta do Museu da Vida,pertencente a Fundacao Oswaldo Cruz, no Rio de Janeiro, Brasil, foi analisada com baseem dados obtidos em entrevistas com os conceptores, em observacoes e analise de doc-umentos da exposicao. Utilizando as ideias de poder, classificacao e enquadramento,analisei o processo de recontextualizacao na producao do discurso expositivo. Inicial-mente, com base na ideia de classificacao estudei a relacao entre os discursos da ciencia(biologia), da historia da ciencia, da museologia, da educacao e da comunicacao na per-spectiva de producao de um discurso particular, chamado de discurso expositivo. Concluique ele nao pode ser identificado com nenhum desses outros discursos e identifiquei osagentes que compoem o Campo Recontextualizador Oficial dos museus e do CampoRecontextualizador Pedagogico dos museus, revelando como eles agem controlando par-cialmente o discurso expositivo final da exposicao. Em seguida, usando a ideia de en-quadramento, revelei como os constrangimentos impostos pelos objetos e textos nasexposicoes ajudam a criar uma maneira especıfica de interacao com esses elementos,mesmo que os visitantes possuam certa autonomia. Ainda apresentei,consideracoes sobre opublico e sobre as intencoes relacionadas ao processo de aquisicao, quando discuti asestrategias de controle da exposicao promovidas pelo forte princıpio de enquadramento.Essa discussao me levou a propor que o Espaco Biodescoberta possui uma pedagogiavisıvel. Finalmente, usando os dados coletados, discuti como o poder opera a partir deregras na producao do discurso expositivo, mostrando como as regras distributivas, asregras recontextualizadoras e as regras de avaliacao funcionam em contextos de expos-icoes. O estudo da dinamica de formacao do discurso expositivo, a partir da teoria deBernstein revela os indivıduos e instituicoes, os criterios de selecao, as negociacoes e asrelacoes de poder envolvidas. Este tipo de etudo possui o potencial de apoiar educadores epesquisadores no campo da educacao em museus, assim como os designers na comp-reensao dos processos de ensino e aprendizagem que ocorrem durante a vista e em es-tabelecer criterios relevantes para avaliar a qualidade para uma melhor producao deexposicoes em museus de ciencias.

Museums are secular institutions that date back to the sixteenth century. Over the centuriesthey have been redesigned in order to revise their role in view of society’s social andcultural demands. According to Michel Van Praet (1989), from the fifteenth to the sev-enteenth century, there was an absolute identity between museum and exhibition. Spe-cifically, during these periods a complete congruity can be observed between objectscollected and those placed in an exhibition. The natural sciences at that time essentiallyintended to establish an exploratory inventory of the existing richness, with museumgalleries being storage spaces of collected objects. Throughout the eighteenth centuryexhibitions began to incorporate new scientific concepts. Specifically, during this periodthe classification of scientific objects had as a major reference the work of Carl Linnaeus(1707–1778). The artistic and emotional presentations of the Natural History Cabinet of theprevious centuries were replaced by the systematic and exhaustive alignment of specimens

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in showcases, which eventually constituted what is known as a ‘‘classical type’’ of NaturalHistory gallery (Van-Praet 1989, p. 27). At this time, there was still no separation betweenresearch and exhibition collections, and the ‘‘galleries-libraries’’ allowed practically all ofthe research-collections to be seen by visitors.

The Museums of Natural History of the nineteenth century are well known for thedidactic focus of their exhibitions. During this period the dissociation between collectionand exhibition was implemented, and later, the organization of thematic exhibitions.According to Van-Praet (1995), these exhibitions originated from the development ofsynthetic theories in various sciences, and in the case of natural science, an importantfactor was the publication of The Origin of Species by Charles Darwin in 1859. Thematicexhibitions that emerged at that time convey an earnest concern in designing a narrativedesigned to help understand the elements of an exhibit. Thus, reinforcing the educationalrole of museums.

In particular, from the nineteenth century and more intensely in the twentieth century,the educational aspects were emphasized as new generations of museums emerged,denoting a strong awareness of the public, its interests and the need for museums to assumeteaching and learning functions (Hooper-Greenhill 1994). In recent years, exhibitions, havealso undergone changes in that museums have assumed a noticeable aesthetic and edu-cational concern, moving away from a perspective centered on the scientific organizationof the collections—the scientific information—to a perspective centered on the needs andinterests of the public (Fayard 1999).

Investigations on museums’ educational processes are still recent. It is research thatquestions the educational function of these settings and the perceptions that are created bytheir exhibits. Research on how to teach and learn in museums (e.g., Adams 2007) and onthe educational potential of exhibitions are becoming increasingly common (e.g., Mor-tensen 2011). There is currently substantial research that promotes the production ofknowledge in the field of education in museums, and many of our studies strive to char-acterize the teaching specificities of these centers in order to contribute to the analysis andimprovement of the quality of such educational activities conducted in these spaces(Achiam and Marandino 2014).

The exhibition is the primary means by which the public comes into contact with thecontents of a museum, with its collections and museographic techniques developed tomake knowledge accessible to the visitors (Davallon 2010). According to David Dean(1994), museums have become multifaceted organizations with multiple purposes and theexhibitions are a key element of a museum’s identity. The preparation of exhibitionsrequires the involvement of multi-specialized teams in addition to the knowledge of the-ories, methodologies and practices, because it is through them that the museum ‘‘sells’’ theinstitution, informs the public, and seeks to change attitudes and behaviors, promotingpossibilities for education and reflection. Producing an exhibition implies a translationprocess of the initial design, usually prepared in a textual form, via a curatorial projectwhere the contents, the possible objects, the different resources, the desirable strategies thatare intended to be presented, are listed. The curatorial project is then adapted into a spatialenvironment such as the exhibition. Thus, there is a transformation of the logic of thediscourse—text, project—to a logic of space—the exhibition (Davallon 1999), with theintention of rendering the content clear and intelligible to the public.

Thus, exhibitions serve as the fundamental elements of the museums’ education andcommunication and are responsible for disseminating the knowledge accumulated in theircollections and what is produced in their scientific research. In the words of John Durant(1996, p. 235), any exhibition is ‘‘necessarily an act of interpretation’’, a narrative

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production, and those responsible for producing them must have a particular view of thetheme and must make it as equally relevant as the other exhibitions, which is a substantialresponsibility to the producers of these media. The work of developing exhibitions requiresmaking difficult decisions in terms of intellectual and ideological points of view, therebyaddressing the question of, ‘‘what story is to be told’’ when elaborating a museum exhi-bition. Sharon Macdonald (1998) proposes that science exhibitions are not merely repre-sentations of uncontested facts because they always involve a cultural, social and politicalnegotiation as well as value judgments, and they always have cultural, social and politicalimplications.

Regarding the development of museum exhibitions, there is the process of selecting andadapting knowledge in order to make it accessible to the public (Simonneaux and Jacobi1997). These selections promote knowledge changes, which are also determined by thespecifics of space, time and objects in the museum (Marandino 2006). The museum’sknowledge procedures produce a discourse, herein called expositive discourse, composedof texts, exhibits, objects and technical devices, compiled to tell a particular narrative. Thisdiscourse can be seen as part of the pedagogical practice in museums and its procedure canbe analyzed based on Basil Bernstein’s concepts of pedagogic discourse and recontextu-alization principle.

My characterization of museum pedagogy relies specifically on Bernstein’s concepts ofpedagogic discourse and recontextualization. These two lenses provide me the necessaryelements to understand the educational particularities of museums in their sociologicaldimension. Understanding expositive discourse as pedagogical discourse and examining itsrole can provide valuable information about the choices and also how the content andteaching strategies are implemented in museums, emphasizing the transformations bywhich scientific knowledge—considered here as instructional discourse—are conveyed.

The study of the dynamics in forming an expositive discourse reveals not only theindividuals and institutions involved, but also the selection criteria, the tensions, negoti-ations, presence and absence of ideas and principles in the final discourse. Such infor-mation is essential to analyze the effectiveness of the exhibition to the public, in that itshows the conditions of producing the discourse and provides elements for better under-standing it. Thus, the study of expositive discourse has the potential to assist both educatorsand researchers in the museum education field, as well as designers (Mortensen 2010) tounderstand the teaching and learning processes that occur during a visit and to establishrelevant criteria to evaluate quality of exhibitions in museums.

The results presented here will offer at least two major contributions to the informalscience education field. The first one refers to the importance in acknowledging museumsas science teaching and learning spaces. The second one regards understanding the pro-duction and evaluation process of educational activities, including the production ofexhibitions. It should be emphasized that understanding museums as educational places isnot tangibly obvious. Although the educational perspective has been present since thebeginning of these institutions, for a long period of time the role of safeguarding collec-tions and scientific research were the main goals of these social sites (Valente1995). It wasmainly in the twentieth century that the relationship between museum and the public wastaken on and expanded, leading to significant changes in these institutions, as mentionedearlier. Since then the educational role of museums has intensified, becoming, as in thecase of science centers, one of its main functions. In these museums the exhibitions areprepared based on science teaching–learning research evidence, reinforcing the pedagog-ical nature of these places (Studart 2000).

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Looking for power relations in museum exhibition production: transformingexhibition into data

To analyze how power works in the production of the expositive discourse, I engaged in aqualitative research effort based on the work of Robert Bogdan and Sari Biklen (1994)specific to education and Judy Diamond (1999) who discusses the role of qualitativeresearch as applied to museums. The goal of my research is to understand the production ofexpositive discourse as a pedagogical discourse in the perspective of those involved inpreparing the exhibitions. From a methodological point of view, I want to understand thesignificance of this process through the perspective of people, events and situations thatcharacterize the dynamics of elaborating exhibitions.

In this study, I used data collected by me in 2000. This data was added to a database ofall data collected by members of my research group since 1995. The database was createdso that data collected can always be revisited and submitted to new analysis. This databaseensures authenticity and encourages multiple interpretations as new frameworks are usedas lenses for analysis related to understanding how museum exhibitions are produced. Inthis paper, I used the data collected through interviews, observation and description of theexhibitions and document analysis in 2000, giving a new and a more profound analysisusing the concepts of Basil Bernstein.

The original research that led to this work was a study of five natural science museumsthat had biology related themes. For this paper the data from one of those was chosen: theBiodiscovery Space exhibition of the Museum of Life. The Museum of Life was created in1999 under the direction of the Oswaldo Cruz Foundation/FIOCRUZ, Brazil. This center isone of the most important research institutions in the area of biology, health, and history ofscience, linked to Brazil’s Ministry of Health and located in the city of Rio de Janeiro.

From its creation, The Biodiscovery Space exhibition has not gone through significantchanges. Some material repairs have taken place but it is still has the same structure of nineinteractive modules related to diversity of life on our planet, observation of animals fromBrazilian fauna, evolution, biological classification, cells, genetic and human diversity. Myassumption is that all data from this exhibit, regardless of when collected, continues tohave great potential to reveal how museum education is assumed and developed. TheBiodiscovery Space exhibition is representative, not generalizable, of the issues involvedin expositive discourse production and thus an example in understanding this process.

As to the data collection, the institution approved the research study and agreed to itsname being divulged, and the interviewees consented to the use of their responses in thestudy, provided their names were kept anonymous. Six individuals responsible for theexhibition—here called conceptors—were interviewed during January and February of2000, including five staff members and one Museum coordinator. Accordingly, all quotesin this paper are from that period. Their backgrounds include the areas of public health,history of science, psychology, history and biology, with the majority having experience ineducation as schoolteachers, museum guides and science communicators. In this text, theyare identified by the acronyms LM1 who is the coordinator, and LM2, LM3, LM4, LM5and LM6 to maintain their anonymity.

The interviews were conducted by myself and carried out with the coordinators andorganizers of the exhibition selected, using a semi-structured script that sought to identifythe actors involved, the content selected and the processes of selecting the expositiveelements. The interviews were divided into two stages. The first one took place at anexhibition space, where I asked the respondent to address, in general terms, the purposesand contents of the exhibition. They were also asked to explain the reasons for some of the


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choices related to the location and the presentation configuration of the existing objects andtexts. In the second stage, specific questions were asked about the aspects mentioned, basedon the script presented in Appendix 1. Audio and written recordings were made for bothstages.

During three visits to the exhibition space I observed and noted the physical charac-teristics of the exhibitions that were created. These observations, to include museographiccontent, can be found in Appendix 2. I also photographed the exhibition, in order toreinforce the aspects described in Appendix 2.

Finally, document analysis was carried out with the few existing documents about theexhibitions. In this study there was access to the promotional materials of the LifeMuseum, such as folders and articles related to its implementation, and I used them toverify the information obtained by the other data collection instruments.

The first analysis was based on the criteria built, using as reference the principles ofqualitative research, taking into account the specific literature consulted and the dataobtained by the collection instruments (Diamond 1999). Thus, the data from the interviews,observations and documentations were initially organized into topics and then analyzed,with the research objectives as guidelines. The topics chosen were:

1. history of the institution;2. approach and conception of the exhibition, in its scientific, educational and

museological aspects;3. selection, production and presentation of the subjects in the expositive space;4. selections, presentation and reasons for the presence or absence of objects and texts,

including aspects of their diagrammation, associated images and language structure;5. construction process of the expositive discourse, by characterizing the teams involved,

the professional formation of the participants and the role and purpose of eachprofessional for the elaboration of the exhibition’s elements.

Based on this initial analysis, the construction process of the exhibition, its conceptualproposal and the elements that comprise it, were characterized. My intention was tohighlight the content and selection process and the ways to exhibit them, the reasons for thechoices made, and the institutions and actors involved in the construction of the expositivediscourse. For the second phase of data analysis, these items were organized in order toshow the elements that constrain and regulate the production of the expositive discourseand to characterize the different discourses and their relationships, showing the principlesof classification and framing in the production of the discourse exposure of the exhibition.Also, data were observed in order to show the power of the discourses and their rela-tionship in the recontextualization process and to highlight the subjects and agencies thatmake up the recontextualizing field and its operation dynamics. Aspects related to theintentional acquisition process were also discussed based on the data collected.

Pedagogical discourse in the museum: the recontextualization and specializationof discourses in the production of the expositive discourse

Bernstein, a sociologist of education, analyzed the social structuring of pedagogic dis-course and its transmission and acquisition forms in society. In his work, he is particularlyinterested in the relationship between class structures—with social inequalities—and thelanguage of education (Forquin 1993). In over 50 years of research he explored, amongother things, the relationship between macrostructural and microstructural dimensions of

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society to understand the field of education (Sadovnik 1995). Accordingly, some of theconcepts he developed help us understand how the pedagogical practice in its smallestunit—expressed in the relationship between acquirer, educator, and knowledge—is influ-enced by the social structures of production and the distribution of power in society.

According to Jean-Claude Forquin (1993), the work of Bernstein summarizes, to somedegree, the proposal of the New Sociology of Education to the extent that it establishes adirect relationship between the distribution of power in a given society and the ways bywhich the society selects, classifies, distributes, transmits and evaluates the knowledgeintended for teaching. In the words of Forquin (1993), this new sociological perspectiveintended to:

Bring out the complex system of relationships that may exist in contemporarysocieties, between the structure of knowledge and the operation mode of schoolingtransmittal, on the one hand, and on the other hand, the dominant forms of power andsocial control that are practiced both within the educational institutions as well as atthe level of global society. (p. 85).

Bernstein in his work, as pointed out by Miriam Soares Leite (2007), although favoring‘‘the pedagogical school relationships’’, intended his conceptual language to describe anyteaching relationship. From that perspective and understanding museums as educationalspaces, I believe it is relevant to explore Bernstein’s conceptual framework to understandthe discourse of the exhibitions, regarded here as units in which a museum’s pedagogicalrelationships are manifested. Schools are not the only social institution with educationalfunctions. I believe that pedagogical discourse is not an element restricted to school andthat spaces such as museums also include education among their main functions, whichalso produce discourses. Will the role of discourse prepared for the production of museumexhibitions be like the pedagogical discourse proposed by Bernstein? This aspect will beaddressed through the discourse production analysis of a science museum exhibition.

Using Bernstein’s notion of power in the context of museums: the work of institutionsand agents of the recontextualization process

The notion of power is crucial in Bernstein’s framework and it helps to understand howculture is disseminated along different social groups. Thus, I analyzed pedagogical text andprepared a pedagogical discourse study model that helps me understand pedagogical dis-course has an internal order that determines the conditions of production, reproduction andtransformation of culture. This order, according to Bernstein (1996), is related to the socialbasis of the distribution of power and the principles of control.

In his work, he proposed the concept of pedagogical dispositive as a theoretical tool thathelps us understand the influence of the ideological principles of power distribution in agiven society. In terms of the context of education, pedagogical dispositive controls theprocess of production, reproduction and transmission of the culture. It also regulates thepower relations and the principles of control of the agents that produce and transmit theknowledge in an educational process.

Bernstein’s framework helps us to identify the institutions, the agents and their role inthe production of pedagogical discourse. Analyzing many concrete examples, Bern-stein identified the actors and institutions that participate distributing, regulating, recon-textualizing and also creating a new pedagogical discourse within certain educationalcontexts. Thus, considering that museums are educational places, I wish to show how the


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idea of power works in the context of museums, during the process of selecting how andwho will control the production, the reproduction and the transformation of the discourse,identifying the institutions, the actors and contexts that are involved in that process.Addressing additional aspects of Bernstein’s framework, such as the concepts of classifi-cation and framework, I will explain how the distribution of power defines institutions andcreates agents in the museum context, producing the pedagogical discourse of the museum.

Bernstein’s theoretical perspective (1996), distinguishes three basic contexts of edu-cational systems. The primary context regards discourse production, the process wherebynew ideas are selectively created and modified, creating the ‘‘intellectual area’’ of theeducational system. The secondary context regards the selective reproduction of educa-tional discourse and consists of several levels—pre-school/primary, secondary and third-level education and agencies, positions and practices. The third context proposed byBernstein regards recontextualization, in which the positions, agents and practices addressthe movements of texts and practices of the primary context of discursive production forthe secondary context, of the discursive reproduction. The role of those that belong to thethird context is to regulate the circulation of texts between the two other contexts. Suchagents and contexts form the recontextualization field.

This third context or the recontextualization field can be subdivided into two sections:the official recontextualizing field (ORF) and the pedagogic recontextualizing field (PRF)(Bernstein 1996). According to Bernstein, the official recontextualizing field com-prises specialized departments of state and local education authorities, together with theirresearch system. Sometimes the ORF also includes universities and their departments/sections of education with their research, researchers and teaching staff, depending on therole and the power that they have to influence the production of the pedagogic discourse.However, universities can also participate as members of the PRF, together with privatefoundations, teachers and other educators. PRF can include weekly newspapers, maga-zines, publishers, evaluators and consultants and can be extended to non-specialized fieldsof educational discourse, but which influence the State. In these terms, agents that aredirectly involved on the reproduction of the pedagogic discourse compose the PRF.

But how does it work in museum settings? Which agents and institutions preside overcontrolling and establishing the text that constitutes the expositive discourse in museums?Luciana Martins (2011) investigated the agencies involved in the production of educationalmuseum activities of natural sciences, humanities and arts museums in Brazil. Her workemphasizes public and private institutions, government agencies and stakeholders that fundand regulate the educational practices of the museums. In general terms, Martins (2011)indicates that the official recontextualizing field of museums (ORFmuseums) is made up ofdifferent agencies from those that regulate formal education.

In Brazil, the Federal Government Ministry of Education and their state counterpartspropose policies related to formal education however, policies related to museums, aregoverned by the Federal Government’s Ministry of Culture, and to a lesser degree, by itsstate and municipality counterparts. A second governmental agency, the Ministry of Sci-ence and Technology of Brazil, develops public policies for museums, especially thoserelated to natural sciences. Finally, the university participates at the ORF as well, mainlythrough its culture and extension agencies by providing funds to educational programs anddefining the politics of museum education.

With regards to the agents that are directly related to PRFmuseums, Martins callsattention to an interesting aspect associated with the three museums she studied that someof the agents in the ORFmuseums were the same ones as in the PRFmuseums. This happensbecause educators of museums are the same individuals who research and publish in the

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museum education field of knowledge and participate in defining policies for museums.Bernstein (1996) believes that situations such as those are exceptions and that thisexception should be disclosed, given that most often the ones who created the officialdiscourse are not the same ones who recontextualize it. Considering that the educators ofmuseums are the PRF, but can also be the ORF, those professionals have a very highdegree of autonomy in the production of the museum pedagogic discourse in the threetypes of museums studied by Martins (2011).

Martin’s research (2011) provides examples of how the ORF and the PRF of museumsoperate and influence the activities of the educational sectors and their actors. Specifically,these examples explain how power works, defining the agencies that influence the selec-tions of what can be promoted for museum education activities. In her work, one canperceive how the Brazilian’s Ministries of Culture and Science and Technology and theuniversities, influence exhibition projects by giving or not giving financial support. Also,her research discusses how agents such as educators of a museum can make importantdecisions influencing and defining programs and sometimes policies of what can beimproved and funded in the area of museum education.

I investigated the ORF and the PRF of the museum when an exhibition is producedbecause I consider that this element is the main educational unit of a museum. Specifically,I looked at the Museum of Life and the exhibition called Biodiscovery Space to perceivethe institution’s actors and power relations that control and promote the production of theexpositive discourse. For this case, it was possible to reveal how power influences thepublic agencies by promoting and specializing a particular concept of museum developedin a public research institution with the role of disseminating knowledge to a large audi-ence. We can also perceive how pedagogical agents work disputing power in order toconstruct a particular conception of exhibition, which has to respond not only to theinstitutional demands, but also to scientific, educational and communicational demandsinvolved in its proposal.

To investigate how the OFRmuseum works in the production of the expositive dis-course, I used interviews and documents to identify the subjects and institutions, charac-terizing how they act in the OFR field. Hierarchically, the Museum of Life is a researchinstitution under Brazil’s Ministry of Health, the Oswaldo Cruz Foundation/FIOCRUZ,and is linked to a research sector called the House of Science, which is dedicated to thestudy of the history of science and public health. The Museum was created with financialsupport obtained from a public selection program to promote interactive science museumsof the Ministry of Science and Technology. Its origin took place in the midst of a broadercultural movement of creating museums in the country, using federal government fundingfor the construction of such institutions. Moreover, at the state level, the creation of thismuseum was part of a project that, along with other museums, intended to empower Rio deJaneiro to become an important cultural and tourist center in the field of science com-munication. As mentioned by Mauricio Arouca (2002, p. 269), Rio de Janeiro can beconsidered at, ‘‘both in national and international level, as a major center in the area ofdissemination of science and technology. The institutions involved in science communi-cation, alongside traditional Centres for Teaching and Research, located here, held in thelast 3 years investments of R$ 40 million.’’

Furthermore, because the Museum of Life has a historical patrimony heritage andpromotes cultural activities, it is also influenced by the policy of official cultural agencies,such as Brazil’s Ministry of Culture. As expressed in the objectives of the institutionexpressed in its website:


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As it is linked to Oswaldo Cruz Foundation, the Museum has unique characteristics,reflecting the culture, the mission and the social compromise of the institution. Theircentral thematic are life as an object of knowledge, health as quality of life and man’sintervention in life.(http://www.museudavida.fiocruz.br/cgi/cgilua.exe/sys/start.htm?sid=20)

In the construction of the expositive discourse in the Biodiscovery Space exhibit, onecan see not only the discourses involved in the production, reproduction and transformationof this final discourse, but also their overall relationship. Because Biodiscovery Space is anexhibition that belongs to the Oswaldo Cruz Foundation—FIOCRUZ, it is composed of,among other elements, the serotherapy laboratories from the early twentieth century. Thehistory of this institution marks the beginning of systematic works in public health in thestate of Rio de Janeiro, meeting the fundamental mission of adding meaning to the historyof science in Brazil (Benchimol and Teixeira 1993). Besides the museum’s commitment toexpressing thematics related to health, life and memory of science, it has also the role of animportant social and cultural instrument in Rio de Janeiro which is to disseminate researchdeveloped by the federal and state government, constituting of an educational and sciencecommunication axis in the country.

All of the elements presented in the history of the creation of Museum of Life allow usto identify Brazil’s Ministries of Health, Science and Technology and Culture, and also theSecretary of Culture of the State of Rio de Janeiro through their health, protection, andfunding policies, as some of the institutions that play a role in the official recontextualizingfield of the museum (ORFmuseum) which creates their exhibitions, including the Biodis-covery Space. Those agencies funded the project and the performance of the museum andthe Biodiscovery Space exhibition. Thus, it can be stated that those agencies—the OR-Fmuseum—can influence the thematic, the objects and all the elements that composed theexpositive discourse, revealing how power works in the macrostructure of museumeducation.

But how does power work in a microstructure context? How do the professionalsinvolved in the selection process of what and how is going to appear or not in an exhibitionwork? What determines the dynamics of their actions? With respect to the PRFmuseum,regarding the agents that directly participated in the expositive discourse production, it waspossible to identify some of the individuals involved in the design and implementation ofthe Biodiscovery Space and the dynamics that embody its discourse. The profile of theindividuals that comprised the production team—the conceptors—and the professionalshired for its implementation characterize the recontextualization agents of the exhibitionstudied. The team that was directly involved in the production of the exhibition comprisesfive professionals from different areas of knowledge, such as medicine, history of science,psychology and biology some of whom had experience as school teachers, museum guidesand science communicators. Thus, their intellectual background was relevant to the study.

In the production process of the Biodiscovery Space, the contents and the currentexhibition communication strategies were proposed by the team of conceptors anddeveloped by architects, design technicians and programming and visual arts experts.These professionals designed the furniture, panels and interactive devices, as well as thehypertexts produced for the computers. In this process, the technicians followed theconceptors’ expertise guidance to ensure the original proposal, which sought to promote aneducational as well as an aesthetic experience for the visitors:

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(…) took on the commitment to make a presentation of the history of this knowledge,and the other thing was to make this exhibition an interesting experience, presentingthis content in an interesting manner (LM-2).

Regarding the dynamics in the production of the expositive discourse, the analysis ofthe Biodiscovery Space shows the dialogue—and the tensions—between the differentprofessional perspectives in the construction of the expositive discourse. In fact, it presentsstrong evidence of how power plays an important role, defining which concepts and area ofknowledge will be expressed, be absent or less represented, and which professionals willmake decisions based on their degree of autonomy to determine how and what to display,creating boundaries between knowledge fields that can be seen at the final expositivediscourse.

The Museum of Life has had, since its inception in its conceptual proposal, not only theintention to articulate the scientific and historical dimensions of biological knowledge butalso the educational and communicative perspectives of science museums. Thus, in itsconstitution the relationship between different fields of knowledge was foreseen. Suchinterdisciplinarity can be observed in the Biodiscovery Space exhibition, which addressesbiology themes and their history including aspects on biodiversity and the history ofscientific research conducted by the institution. The exhibition originated prior to itsconstruction in the Museum of Life, during the ‘‘Life’’ temporary exhibition in 1995 for thecelebrations of Pasteur’s jubilee conducted by FIOCRUZ. This initial experience, distin-guished by the intent to discuss aspects of scientific concepts of Life in its historicdimension, was very successful with the public and was taken as a thematic and museo-graphic reference to prepare the Biodiscovery Space, which was built in the Oswaldo CruzFoundation/FIOCRUZ in 1999.

The importance of FIOCRUZ as a research place in the health area was considered inthis proposal because the museum is linked to the ‘House of Oswaldo Cruz’, the history ofa science research center, and the exhibition seeks to present biology from a particularhistorical approach, as mentioned by one conceptor:

When we started thinking about the Museum, (…) the perspective of the history ofscience was a question also under discussion by the European, American ScienceMuseums, etc. It is the idea of how to bring the view of science sociology into amuseum experience, one that addressed the idea of including the moment whenknowledge is embedded. With all the contradictions, with the notion that you haveopen rationalities competing, how science is done in practice and not as it is, rhe-torically, after the activity is organized. (…) So, all of this division refers to someexperiences, approaches, a critical view on the ethnographic perspective on ‘doingscience’ and then try to understand how these experiences are built, working withnetworks between scientists and society (LM-1).

The 800 m2 Biodiscovery Space exhibit is located in former stables, used in the earlytwentieth century for the manufacture of vaccines. This venue is a protected historiclandmark as deemed by the Brazilian Historic Heritage Patrimony (see Fig 1). The exhi-bition consists of scientific objects, interactive modules and instruments, as well as games.For example, there are microscopes, vaccine vials, fossils and preserved and live animals.

The elements inside the museum are distributed throughout the space based on two mainaxes—‘‘health’’ and ‘‘biodiversity’’—that were chosen to establish a relationship with theinstitution’s history, but also for the current discussions on biology as a way to reach thepublic:


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Why health in this backdrop theme? Because of the institution itself, where themuseum is, which is a public health institution, and where we can use the differentspaces of the foundation, from laboratories to public health schools working withhealth. (LM-3)

Biodiversity, at that time, was something that people were talking about, givingimportance, valuing, discussing, ‘why biodiversity?’ So, that is how it was, a con-sensus thing of this group. But why biodiversity? Was to understand why peoplewere speaking for or against it, defending it, or not regarding this biodiversity, thisgenetic material. Then we sought to provide information so that they could under-stand what is biodiversity. (LM-5)

As discerned by the conceptor’s response (LM-5), there are many demands that must bedealt with in the conception of an exhibition. For example, the institutional aspects, theperspective of a museum that communicates and promotes understanding of scien-tific ideas and the views of a multidisciplinary team, hence influencing how those con-ceptual ideas appear. The result was a thematic exhibition and from the central axes otherthemes were developed, including history of health, evolution, tectonic plates, cell theory,biological classification, human diversity, heredity and reproduction:

But anyway, I find it easier to work the educational issue through themes, yousuggest themes, a theme is suggested and from these you can work the rest, if aunifying theme is proposed, and from there you can work other parts. I think itfacilitates things, you integrate a thought, you can integrate content, daily life andalso emotional, you obtain motivation quicker, perhaps, from the group that is beingworked. (LM-3)

Fig. 1 The entrance of theBiodiscovery Space—a buildingprotected by the HistoricHeritage Patrimony

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As I mentioned before, the decision of what to present or not is first influenced by theagencies that provide the financial support. Though, by defining conceptual axes andthemes, selection of content and topics were performed by the conceptors, using criteriarelated to what they think is important to science museum displays, reveals how powerworks at that dimension. Considering the perspective of power is a good example of howboundaries of disciplines and areas of knowledge are constituted and how content may bepresented in an expositive discourse, sometimes via a profound approach, and at othertimes as a list of scientific names, and finally, the content that is left out.

The existence of different disciplines in the constitution of the expositive discourse canbe interpreted by the notion of power in Bernstein’s framework. I identified some areas ofknowledge not only in the intentional discourse but also in the exhibition itself, which canbe analyzed as categories created by the power relation between them. As proposed by theauthor:

… the power relation creates, justifies and reproduces the limits between differentcategories of groups, gender, social class, race, different categories of discourse, avariety of agent categories. Consequently, power always acts to provoke disruptions,to produce marks in social spaces (Bernstein 1998, p. 37).

According to Bernstein, power establishes relations and forms of interactions betweencategories. In this case, considering disciplines as categories, it is possible to identify themat the expositive discourse level creating the narrative of the exhibition and, at the sametime, establishing a relation between each other in order to be expressed as a final dis-course. The actors of the pedagogical recontextualization field worked defining ‘‘what’’and ‘‘how’’ those categories—disciplines—will appear.

In the Figs. 2, 3, I present some elements of the exhibition that composed its narrativearound the main axis of the exhibition—history of the health and biodiversity of organisms.Figure 2 shows a showcase of antique vaccine ampoules seeking to present the health topicof vaccination, and at the same time to explore the role and history of the Oswaldo CruzFoundation. The choice of vaccination was related to the role of the institution and theoption was to expose this role by using objects from the museum collection because one ofthe roles of the exhibition was to present aspects about the history of science related tohealth acknowledging the Foundation’s role in vaccine production in Brazil.

Figure 3 shows an interactive panel about the diversity of human beings called ‘‘I’munique’’. Bringing the biodiversity theme to the exhibition and, at the same time, pro-moting physical interaction with the audience, this device discusses the diversity and theuniqueness of human beings. A mirror in the middle of the panel allows the visitor to seehis/her face mixed with others in the photos. Also, words like ‘‘biotype’’ and ‘‘individual’’are shown in the panel. Here, the selection of content not only focused on a certainapproach of biodiversity—human approach—but also took into account the possibility ofphysical interactivity with the public. These aspects are also roles of the exhibi-tion designed to address educational and communicational concerns.

Looking at the above two examples reveals the specificity of content and ideas selectedto discuss health and biodiversity themes. There are various reasons for the choice ofvaccination and human diversity, some of them related to aspects of the disciplines or areasinvolved in the exhibition and others to museology, which is related to objects fromcollections and their display, and museography, which considers the communicationprocess with the public and education as related to the learning process and the audience.

Thus, the elements related to the field of museology and museography can promote therestriction of possibilities related to the preservation of the heritage and also to the


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importance of communicating the contents to the public. This scenario provokes con-straints in the final expositive discourse because it is possible to identify the selections ofthe content where some concepts are highlighted while others are just named or aban-doned—as shown in both examples (see Figs. 2 and 3). Those restrictions are also med-iated by the objects and furniture that are preserved by patrimony, as they could not beremoved from the exhibition space.

The importance of the museography in that exhibition is something to be mentioned inthe production of the expositive discourse of Biodiscovery Space. The interactive move-ment in museum exhibitions, which occurred especially in the second part of the twentiethcentury, influences the decision of how objects will be produced and exposed in theexhibition. The scientific museology proposed by authors such as Jorge Wagensberg(2000) highlights the importance of stimulating different levels of audience interactivity(hands on, minds on and hearts on) in exhibitions as a way to motivate, delight and

Fig. 2 Details of some vaccineampoules produced by OswaldoCruz Foundation at the exhibition

Fig. 3 The interactive panel called ‘‘I’m unique’’

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promote the understanding of scientific ideas. Those aspects were present in the productionprocess of this exhibition in the choice of the objects from the collection and the devel-opment of interactive elements. The variety of objects and views of museography—moretraditional or more interactive—promote other boundaries between conceptual fields thathad to be negotiated to produce the final expositive discourse. The speech of one coor-dinator explains such tensions and choices:

It was not meant to be a ‘science center’ but it was not also a ‘traditional museum’.Many things were considered to make this exhibition with regards to saying whatyou’re dealing with. So that part of museology, the traditional museology, withoutbeing a traditional museum, or a science center (…), to discover our language, we aretrying to find our language, I think that’s the point here. You have activities like ascience center, the traditional thing, because it is a historical place and you have allthese themes to be displayed. (LM-5)

The data presented made me realize that there were many potential ideas, concepts, andtheories from various areas of knowledge to be exposed in order to guarantee the historicaland epistemological conception of the Biodiscovery Space exhibition. However, thedemands from communication and education areas to which museums need to beresponsive today promotes other restrictions and selections to content and to the waycontent is presented in the exhibition narrative. This situation represents strong evidence ofthe recontextualization process and is a good example of how power works in the pro-duction of the exhibition, revealed by the specialization procedure of the discourses and theestablishment of boundaries between areas of knowledge—health, biology, history, edu-cation, communication, museology—which are present, but also in conflict and in dispute.Those conflicts are also present between the agents involved in the production of theexpositive discourse, as I will show.

From Bernstein’s (1996) perspective, the idea of power considers the internal dynamicsin the production, distribution, reproduction and change of pedagogic discourse, referringto an arena of conflict, instead of denoting a set of stable relationships. Then, there is a realor potential source of conflict, which is the resistance and inertia between agents of therecontextualizing field—official and pedagogic. Using this tension as a filter in analyzingthe evidence, I explain how the negotiation of proposals was developed and how someperspectives were chosen and others abandoned.

Such conflict can be observed through the words of the interviewees and the observationof the Biodiscovery Space exhibition itself as expositive resources were being elaborated.Technicians from different areas of communication and art were hired to implement theconceptual proposal of the exhibition and gradually the conflict of perspectives, the dif-ferent particular approaches of each area unfolded. As expressed by a conceptor: ‘‘Therewas quite a big a fight with our designers, more to do with the visual part, where the textswith the more explanatory points are used.’’ (LM-2)

The adaptation of the contents originally proposed required a joint effort between theprofessionals who designed the proposal and those who carried it out. Therefore, therelationship between content and its presentation had to reach a common denominator. Forexample, within the team of conceptors—in this case the agents of the pedagogic recon-textualizing field of the exhibition—there was the need to reach a common denominatorregarding the experience of the public: on the one hand more educative and on the other,more aesthetic, as shown in the statement hereafter:


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I think that if you talk to the team you will see that we have one thought in common,I think it has to be broadened, yes, but not all the time, I do not think it has to beeducational all the time, I don’t have this concern, I think it has to be at certain times.(LM-3)

These two perspectives of the exhibition—educative and aesthetic—led to the need fornegotiations with the individuals of the team, as well as with the technicians hired toconstruct the exhibition revealing the dynamics of how the recontextualizing field func-tions in the museum. We can consider that the conceptors of the Biodiscovery Spaceexhibit have relative autonomy about the choices of what and how toexpose because negotiations are always necessary. Thus, constraints related to space,patrimony and the conceptual proposal, as well as the negotiation with the technicianshired, influence and define the final expositive discourse.

Classification: specializing discourses in the production of a museum exhibition

Bernstein’s framework analyzes the production of the pedagogical discourse in a move-ment that at the same time produces many different discourses and correlates them,studying how they interact and how those discourses are specialized in this process. Theauthor refines the formation principle of the pedagogical discourse, indicating that it is arecontextualizing principle, which selectively appropriates, relocates, refocuses and relatesto other discourses to constitute its own organization and its own classification. Thus, forthe author the pedagogical discourse cannot be identified as any of the discourses itrecontextualizes and I also suggest that many discourses are involved in the production ofthe pedagogical discourse. The identification of those discourses reveals a specializationprocess and, at the same time, a movement of correlating them, and that mechanisms worksin a particular way:

The pedagogical discourse is a principle for appropriating other discourses andputting them in a special mutual relationship, for their selective transmittal andacquisition. Pedagogic discourse is therefore a principle that takes (displaces) adiscourse from its practice and substantive context and replaces that discourseaccording to its own focusing principle and selective reorganization (Bernstein 1996,p. 259).

According to Bernstein (1996), pedagogic discourse is defined by a rule, which worksembedding the discourse of competence—the instructional one—in a discourse of socialorder—the regulative discourse-, ‘‘in such a way that the latter always dominates the first’’(p. 258). Thus, Bernstein states that instructional discourse is one that conveys expertiseand its mutual relationship, and regulative discourse is one that creates order, relations andspecialized identity.

According to Bernstein, the recontextualization process makes the recontextualizeddiscourse to be different from the discourse itself and what changes in the other discoursewill depend on the dominant principles of a given society. To explain how this recon-textualization takes place, Bernstein uses secondary physics education as an example. Hestates that school physics is the result of recontextualization principles that made aselection and displaced it from the primary context of discourse production—composed byuniversities or equivalent agencies—to the secondary reproduction context of the discourse

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which is in accord with the instructional theories related to the logic underpinning teachingand learning:

In this process, Physics undergoes a complex transformation: from an original dis-course to a virtual/imaginary discourse. The rules of relationships, selection,sequencing and cadence (the expected acquisition speed of rules acquisition) cannotbe derived from some internal logic to Physics, nor from the practices of those whoproduce Physics. The physics reproduction rules are social facts, not logical ones.(Bernstein 1996, p. 261)

The recontextualization process takes place by the principle of classification—whichregards the relation between physics and other disciplines—and framework—in relation tosequencing and pace related to academic context. From this perspective, physics taught inschool cannot be identified as the physics produced in scientific research; it goes throughtransformations and adaptations associated with the curriculum, of the school, and theteaching and learning process. These changes are necessary for knowledge acquisition tooccur and characterize how the production of pedagogic discourse operates.

The ability to recognize different fields of knowledge participating in the compositionof the exhibition expresses what Bernstein (1998, p. 38) designates as ‘‘separation ofcategories’’—or discourses—with the identities defined. According to him, the relationshipprinciple between categories, in this case discourses, is due to the degree of separationbetween the categories of the set under consideration. Thus, the classification principledefines different discourses that can be identified and separated, as a result of the spe-cialization process in the pedagogic discourse production. Accordingly, the idea of clas-sification helps us to identify the categories—disciplines or areas of knowledge—embodied in the exhibition discourse—and analyze the relation between them. Accordingto Bernstein (1998, p. 38) we can distinguish between strong and weak classifications:

In the case of a strong classification, we will have a strong separation betweencategories. In the case of the strong classification, each category has its uniqueidentity, their unique voice, their own specialized rules of internal relation. In thecase of weak classification, we have few specialized discourses, few specializedidentities, few specialized voices. However, the classifications, be strong or weak,always include power relations.

In order to understand how power works in the exhibition discourse of the BiodiscoverySpace and analyze the relation between categories of areas of knowledge and disciplines, Iused the concept of classification. The data obtained from this exhibition show the differentknowledge, concepts and theoretical perspectives that comprise the instructional discourse.Although specialization of the discourses implement boundaries between those areas ofknowledge that are involved in the production of the expositive discourse such as biology,history, education, communication and museology, those discourses in the recontextual-ization process had to fit the logic of the physical space during the production of theexhibition.

In this case from the beginning, the location where this exhibition was built was amediating element of its design. Its architectural design had to take into account therequirements and restrictions of the modifications in order to preserve certain historicalaspects of the former site:

Although it is a very large space, 800 square meters, it actually has (nor ever hadany) no free area for mid-sized exhibitions. Because the buildings are historically


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protected, the architecture/configuration was not edified thinking of these activities.One is faced with considerable constraint on how these protected buildings can beused, we have continuously had difficulties with this issue, since previous museumexhibitions (LM-1)

The exhibit design of this space has undergone a series of impositions related to itsarchitecture, which determined its final facade but in the process somehow, such impo-sitions were incorporated into the conceptual proposal of the exhibition, thereby becomingpart of it. This fact highlights the relationship between the discourses concerning thebiological knowledge and the history of science—as a discourse of competency—and thoserelated to heritage preservation, education and communication. These production dynamicsreveal the specialization among the different discourses involved.

Incorporating the architectural constraints, adapting the museum projects to a previ-ously demarcated physical space with such impositions, and then organizing and preparingthe exhibition was no easy task:

Some things that were not done were due to the physical space. We had to makesome adjustments, comply with the fact that objects could not be nailed to the walls,hence not shown. Some adjustments turned out really nice, like the little windows onthe ground look very interesting, and in my view other adjustments seem inadequate.In the last room, for example, it had to be a mini living room, but we had to respectthe limits of the building and that was a problem. (LM-3)

During the production of Biodiscovery Space exhibition, the discourse about the field ofbiology—considered here as instructional discourse—establishes relationships with otherdiscourses. The ideas related to the concepts, such as biodiversity, origin of life, evolution,and also the history of vaccines, to be presented in the physical space and through texts andobjects, are thus transformed. Each of those topics are represented and clearly seen at theexhibition, revealing their identity and voices.

The idea regarding all these sectors was that they would enable more thematicpresentation spaces. But we weren’t able to do this in order to keep these originalstalls [wooden partitions where horses were put for venom inoculation and serumextraction], which decreased our ability to present the theme. Now, the hard part wasto coordinate all of these things. We wanted to do more and show more, but whenthings have to be cut, it gets complicated. But these were the mediating elements.(LM-2)

A good example of architectural restrictions is in the choice of showing the antique floorof the stable where the Biodiscovery Space was constructed, by placing a glass above it, asshown in Fig. 4.

An important aspect that marked the relation between discourses in the elaboration ofthe exhibition refers to the impositions of its architectural design, with respect to thehistorical protection of the national heritage of the FIOCRUZ Foundation. Negotiationswere held to reach a consensus on what could be changed or not and the construction of theexhibition had to take into account the physical structure of the site. Oftentimes thesolution was to incorporate these architectural elements into the narrative of the exhibition,highlighting them or using them as part of the expositive structure itself, as observed in thefigure illustrating the windows on the ground that show the old floor (see Fig 4). Thespecialization of the historical discourse is very evident, showing the voice of antiqueheritage at the exhibition.

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Furthermore, the educational perspective that inspires the proposal of the BiodiscoverySpace exhibition can be identified as a specialized voice. The pedagogical proposal wasconsolidated during the preparation of the exhibition and also after it was completed,starting with the activities carried out with the public. The reference to the concept of‘‘transversal themes’’ was also mentioned to better ground the exhibition’s pedagogicalproposal:

That came together with something else that emerged from the group, which was thattheme proposal. We did not know beforehand the proposal of transversal themes, thisis a relatively new issue, we studied this because it was congruous with somethingwe had been working on. (LM-3)

Here, classification mechanisms reveal another discourse that specializes and controlsthe production of the expositive discourse, the educational discourse. Knowledge from theeducational field, specifically from the discussions that more broadly surround educationcalled transversal themes, and also knowledge from science education, or learning centeredon objects, and education in science museums via interactivity, define other discourses thatare in the exhibition.

Considering museums as educational spaces and science exhibitions as a means to teachscientific ideas to different audiences, I suggest that the knowledge presented in theseplaces is not in unison with that produced in the context of research. As pointed out by JeanDavallon (1988), in the preparation of exhibitions ‘‘There is a process of ‘representation’,of ‘figuration’ that coexists with the conveying of scientific discourse, (the source) to thediscourse of popularization (the target)’’ (p. 5). Thus, the question is how does the

Fig. 4 Preserved architecturaldetails in the exhibition: windowson the ground to highlight the oldfloor


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recontextualization process take place? How do the transformations and adaptations ofknowledge and the pedagogic discourse production in museums take place? More thanthat, how does the classification principle define areas of knowledge and disciplines thatparticipate in the expositive discourse?

It is possible to demonstrate the recontextualizing rule of action in the production of theexpositive discourse, while the architectural elements, the educational principles, thestrategies of communication by technologies are incorporated, shaping the conceptualproposal and also submitting and regulating them. The principle of classification is seen inthe production of the exhibition discourse, giving voice to other discourses, rather thanonly to biology and history of science—the instructional ones. Museology discoursesregarding historical preservation and concern with public communication and educationemerge as legitimated discourses that regulate the discourse of science conforming the finalexpositive discourse.

Taking the above perspective into consideration, it can be affirmed that the recontex-tualization principle defines and separates the various discourses involved, using a strongclassification principle. In this classification and specialization movement, discourses arecreated and refined. This new final discourse is constituted and is no longer identified asonly biology discourse or as the history of science discourse. The transformation andproduction of this new discourse—the expositive discourse—can then be perceived, eitherby identifying the different discourses involved in this process, or by identifying contentsand strategies that could motivate and assist the visitor’s understanding and maintain andpreserve the country’s cultural and scientific patrimony.

Framing: the different forms of legitimate communication in an exhibition

The interaction between the different discourses in the production process of the expositivediscourse produces a narrative that should be understood by the public. This expositivediscourse, insofar as it is regulated by other discourses besides the biological and history ofscience discourses, defines the procedure in the exhibition space and determines how thetexts and objects, and also the time spans, observation, reading and appreciation times willbe presented. Those elements can be analyzed using another important concept of Bern-stein’s framework, known as framing. To the author, framing, controls the message beingconveyed, selects and produces sequencing, and rhythm and establishes criteria thatdetermine the knowledge to be taught (Bernstein 1998).

Framing, within this perspective, controls how the pedagogical practice is organized andpresented by the agents that select the communication process and the control base of thetransmission process. As Bernstein states:

When the framing is strong, the transmitter has the explicit control of the selection,the succession, the rhythm, the criteria and the base of the communication. When theframing is weak, the acquirer has more apparent control (I insist in ‘apparent’) overthe communication and its social base (Bernstein 1998, p. 45)

Thus, framing refers to different forms of legitimate communication and, especially inthe context of museums, it can be a tool to analyze the forms of communication that areselected for the exhibition and how much such selection controls what the audience isexpected to do or not to do at the space. Is important to explain that, for the author, thevalues of framing—strong and weak—can be different for each topic of the practice. For

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example, there can be a weak framing related to rhythm but a strong one related to otheraspects of the pedagogical discourse.

In this study, I have chosen the text and the objects and the way they are displayed at theexhibition space as the empirical data that shows how framing works. The way thoseelements appear in the exhibition narrative defines the visitor’s interaction possibilitiesduring the tour in the space. However, it is necessary to emphasize that in this paper I usedthe concept of text to include both the idea of discourse, including all the elementspresented at the exhibition including printed texts and objects, and its narratives, as pre-sented in artifacts and texts, as elements of the expositive discourse.

As mentioned earlier, the exhibition is the primary means by which the public comesinto contact with the contents of the museum, and it happens using many types of objectsincluding those that came from collections to the technological exhibits and texts such aspanels, labels, hypertexts, guide’s explanations. Moreover, using empirical elementsenables me to show how the regulatory mechanism works, submitting the instructionaldiscourse to the regulative and social one.

The exhibition language controlling the expositive discourse

In his theory, Bernstein (1996) calls attention to the fact that in the recontextualizationprocess there is the transformation of texts. The recontextualizing field—formed by theofficial and secondary agents involved in the production of the discourse—transforms theintertextuality of the text into intratextuality. By embedding the instructional discourse intothe social discourse, the recontextualized discourse produces a specialization of the time,the text, or a metaphorical equivalent, the space and the conditions of the interrelationship.For example, pedagogical discourse provides a specialization in time and space; thisdiscourse is linked to pedagogical practice to create its own markings and temporaldivisions. Therefore, the way the text flows within a school context is determined by thespecialization of time and space of that setting. Similarly, the way texts are produced andcirculated at the exhibition context express a specialization.

The first observation is that the exhibition is not a book! In this setting, reading isdetermined by the spatial and temporal characteristics involved in a visit. To Daniel Jacobi(1998), it is the text that gives meaning to the exhibition, because this is what guides anddirects the work to orient the visitor, especially in science exhibitions. Exhibits always uselabels to identify the specimens and samples to assist the visitor in understanding theconcepts and interpreting the models and reconstructions, or as notes to guide the use of aninteractive device. Therefore, in the production of expositive texts, the recontextualizingrule is followed, adapting the instructional discourse to a type of text that has to be read ina specific manner—quickly, standing up and at eye level conforming to letter type, size andformat (Gilmore and Sabine 1994). Here the framing activity can be characterized whileproducing a narrative with a specific manner of what and how to see and read at theexhibition.

In the case of the Biodiscovery Space exhibit, the production of the elements thatcomprise the texts in the exhibition reveal the choices, the challenges and moments ofconflict between the different perspectives to define what content to address and whatlanguage to use. This fact can be seen during the production of the exhibition’s texts andhypertexts, which point out the challenges in the translation of science to the public visitingthe museum.


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I explained a few things I wanted to put in the hypertext to the team and they said itwas complicating the way it was being explained. Well, I have no experience withthis; it was with great difficulty, sometimes over simplified and then changing theidea. (…) I had to consult books, many textbooks, to do something simpler, then Ihad to see the textbook together with a more specific book. (…) If this word is toocomplicated, it can’t be substituted with another word, then I tried to change it. (LM-6)

The preparation of the various resources used in the exhibition, including texts, involveddifferent choices. The criteria that guided these choices were many, but the importancegiven to the public, especially the school public, can be clearly seen in this process. Theuse of references looked up in textbooks to help implement the transformation processindicates the presence of knowledge from the school culture within the museum. In thepreparation of the exhibition, the school discourse emerges as an important reference in theadaptation of scientific knowledge, especially if this public profile is the one that mostoften visits the museum. The following statement reinforces this fact.

Because at certain times, you begin to prepare a text and this text can seem very silly.Then another text was prepared, but another group would not read it. So then wedecided again [taken by reference] from seventh grade to the second grade [of theschool], in terms of testing the content, for [the student] to know more, talk about itmore. (LM-5)

Challenges regarding the structure of the texts, not sounding ‘‘silly’’ to non-specialists,yet reaching the visitors of different levels of education, is part of the process. The concernwith the exhibition language is well evidenced and, again, the public—through their priorknowledge and interests—also becomes an important element that mediates the productionof texts at the exhibition. For example, a panel that talks about evolution has in its structuremany open questions to enable the visitor to think about the themes exposed.

Choosing to offer open questions and relating the content of the text panel to the nearbyobjects at the showcase reveal an intended manner of reading, interacting and observing atthe exhibition. Here framing works by implementing a particular way to visit and interactat this exhibition with the intent of having the visitor read the panel questions and try toanswer them using the objects and other text as support.

On the one hand, the literature about the use of museums addresses the relative libertyof the audience when visiting those places to choose what to do, see, observe, not observe,and physically interact at museum exhibitions (Allard et al. 1995). Some authors underlinethe idea that the informal education that takes place in an exhibition has no rigid line orstructure, it is spontaneous, explored and adapted to the interests of each person (GarcıaBlanco 1999). On the other hand, our data suggest that this liberty is partially controlled.

As shown by the intentions of the authors and by the texts they produce, the languageand structure and the way the texts are organized at the exhibition promote some forms ofreading and ways to acquire and interact with the knowledge espoused. The conceptors ofthe exhibition control the social base of the communication, selecting the language of thetext, what is presented and how it can be read, characterizing a strong value of theframing related to time and space in the discourse. However, during the exhibition tour, thevisitor can make choices about the reading rhythm, selecting the texts they want to readentirely or only briefly, or not at all, characterizing a weak framing related to rhythm.Those aspects express how framing controls the relation between who transmits and who

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acquires the knowledge, in other words, how the mechanism of communication controloccurs within the pedagogical relations in the exhibition discourse.

The objects and the space regulating the way to observe, read and understand

The Biodiscovery Space exhibit, as a part of the Museum of Life, does not have a tradi-tional research collection on natural science. Some of the objects used in the exhibitionbelong to other sectors of the FIOCRUZ Foundation, such as research laboratories or thehistorical collection from Oswaldo Cruz House, or objects donated by other institutions.Furthermore, most of them were produced to be used especially at the exhibition in order tocompose the expositive narrative:

For example, some of the videos belongs to WWF and Spielberg allowed us to usepart of the film for the Dinosaurs Park. The aquarium has species from the NationalMuseum (…), and also from the Atlantic Forest, therefore we have many contri-butions. (LM-2)

There are many natural and scientific objects such as plant specimens and conservedanimals, fossils and historical instruments in the exhibition (see Fig 5). In addition, thereare many objects that are intended to disseminate and teach scientific contents as models,hands-on exhibits and games. There are also live animals, such as ants in an anthill, in theexhibition.

Sometimes we used some objects just as an element to be shown, as an epoch idea, asfor instance those three epoch microscopes. It is never a thematic object, we don’tuse the historical value of the object, they are there as any other object. (LM-2)

Fig. 5 Details of oldmicroscopes from collection atthe exhibition


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The objects in the Biodiscovery Space exhibition do not represent a scientific per-spective like that one might observe in collections. The objects are there to communicateconcepts and ideas based on some thematic axis proposed by the exhibition. Their role is toillustrate, demonstrate and give examples of the contents. Indeed, especially in the case ofhistorical objects, live animals, models, and fossils, they stimulate visitor behaviors, suchas observation and contemplation.

However, there are other objects, such as hands-on ones including the ‘‘biodiversitygame’’, the preparation and observation of the organisms seen under the microscope, andthe tridimensional cell model that the visitor can enter to see and touch models of cellorganelles, that promote more active visitor behaviors.

Such variety of objects promotes different types of relations between public and object,and consequently, between content and visitor. In this sense, the work of framing theexhibition discourse is again identified in the type of objects used, and the way they arepresented, that partially regulates the visitor’s tour and controls what and how to observe,touch, play and interact during the exhibition. As pointed out by one conceptor:

On the one hand it encourages to touch, to move, to learn, and on the other hand itrequires that children have a more traditional exhibition idea, where they stand infront of the panel and have to take a look at the text, to understand it better. (LM-2)

Examples of exhibits that engender both hands-on and contemplative behavior include astation for the topic of cells where visitors can manipulate some microscopes and observesamples of cell organisms and a closed glass display case dedicated to the evolution theme,where fossil specimens are exposed for contemplation and are intended as evidence of theevolutionary phenomenon (see Fig. 6).

Other kinds of objects at the Biodiscovery Space exhibit emphasize the historicalaspects of the building of the exhibition. As mentioned, the conceptors opted to highlightpreserved architectural elements such as the horse stalls or stables, the old floors under theground displayed through a transparent glass, the white tile walls, the ceiling tiles in view,among other elements. These are arranged in such a way so as to be observed by the publicwhile also being preserved thus revealing the museographic strategies used in order topreserve historical patrimony, while embodying the exhibition as an object to be presentedto the public. Thus, the organization of the objects can be seen, proposing ways in whichthe public should move in that space, highlighting what should be observed, manipulated,viewed or read.

The production of the exhibition and the final product highlight, with their educationaland communicative roles, how certain types of objects, displayed in a specific way supportthe visitor to understand thematic elements and the contents. In that sense, we can see aninteresting and complex recontextualization process of the museological object (Maran-dino 2012) from the collection or other social and cultural contexts to the exhibition.According to Martin Scharer (1999), in the musealization process the objects are decon-textualized from their primary function integrated into collections, to be presented to thepublic.

The regulatory mechanism that underpins the instructional discourse and the logic ofvalues grounded in the concern with the aesthetic elements, as well as the motivation andunderstanding of the exhibition by the public is evident in the composition of the exhibitionspace, revealing how framing works by arranging the elements in the space as a com-munication proposal. Each environment features a predominant color on the walls andpanels, which helps the exhibition’s thematic organization and the public’s trajectory alongthe exhibition, thus serving as a support language for the visitor.

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Also, the exhibition space is refrigerated and the specially designed lighting is dimmed,thereby creating its own setting, with special lighting focusing on some of the objects,assisting and guiding the visitor’s eye to dwell on them. The resources used in thisexhibition were intended to promote the mediation between content and audience: images,colors, shapes, objects, space, as well as the details of the panel layout and the furnituredesign. The modules were intentionally designed or organized to draw the visitor’sattention to its aesthetic and didactic aspects, with the goal of promoting communicationwith the visitor.

The pedagogical agents of the transmission of the Biodiscovery Space were concernedwith questions of ‘what’ and ‘how’ designed to assist the visitors to understand andbehave at the exhibition. These conceptors worked determining the organization of thespace, choosing which objects and texts should be presented and how they should bearranged throughout the course of the space. With such selections, they produce the rulesof sequence and rhythms of behavior—of observation, reading and physically interactingin the exhibition with the goal of control. At the same time, they produce the criteria of the

Fig. 6 Examples of the objects at the exhibition: contemplative and hands-on objects: first the cell stationwith microscopes to be manipulated by the visitor and second a showcase with fossils near the panelillustrating the ‘‘Evolution’’ theme

Fig. 7 A guided activity at the exhibition: the guide showing models of plants and promoting a discussionabout vegetal reproduction


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message, in other words, the exhibition discourse itself, conveying a strong framingprinciple in that process.

The audience has the liberty of deciding what to do and how to behave in the exhibitionspaces: people can stay as long as they want, or decide to stop and see or read only whatcalls their attention and move on quickly (Garcıa Blanco 1999) but as my data hasshown, the transmitters of the discourse select the kinds of behavior they want to promote.In that sense, framing is in the hands of the transmitters but also partially in the hands ofthe public. The aforementioned aspects show how the expositive discourse works as apedagogical discourse partially controlling, selecting, proposing sequences and promotingthe teaching and learning process during a visit in this exhibition set.

The audience and the intended process of acquisition

As I mentioned earlier, the analysis of the production of texts displayed in the exhibition ofthe Biodiscovery Space reveals the use of textbooks as references, indicating a knowledgeof the school culture within the museum. As stated by one of the conceptors, the text usedin the panels and labels was written for youth aged eleven to sixteen, which in Brazilincludes seventh grade of primary school to the secondary level. Textbooks were consultedin order to learn more about what kind of knowledge and what prior knowledge of sci-entific content was associated with the chosen audience:

What knowledge does he bring? And what kind of language can we use? It’s notabout using school education in the exhibition similar to the seventh grade content,so I’ll insert this in the exhibitions. No, that’s not it! But rather understand whatseventh grade kids are doing. Talking about language: this is a concern we have, whoare we talking to? And also knowing what content they should already know. (LM-5)

The criteria that guided the choices of ‘‘what’’ content were related to the axes of theexhibition while the text of the exhibit addressed the question of ‘‘how’’ the exhibit was tobe presented. By reading the text and observing the topics that are developed around theobjects in the Biodiscovery Space, it is possible to identify the importance given to theaudience in this process, especially a school audience. One example of the audiencepreference at the exhibition is shown by the hypertext presented in a computer terminalabout the diversity and identity of human beings. Using questions in the text to invite theaudience to think about the thematic focus and using examples of genetic inheritance thatare common in school textbooks—such as eye and hair color—are designed to commu-nicate to the seventh grade and the secondary audience at the exhibit:

‘‘Who do I look like? ......’’ (insert quotation at the text)

Text at the computer:

‘‘Who do I look like?[several images of individuals providing testimonials about their physical features,comparing themselves to family members]Each human being is unique and has traits that were inherited from their families.Sometimes these traits are evident that they can be traced back through severalgenerations. Other times these traits are hidden and are manifested many generationsin the future. The features that make the children resemble their parents result fromgenetic combinations and form our genetic inheritance.

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[in another screen, the Biological Identity subject, the visitor is asked if he can or notbend his tongue and using the YES or NO keys, a graphic appears with the infor-mation about the percentage of the population which can or not bend their tongue][other screens address similar topics such as earlobes, hair and eye color andfingerprints]’’

There are moments of the exhibition, which are controlled by guides working at sta-tions, aiming at a sort of mediation with the public to promote the playful and cognitivedimension of the visit. As seen in Fig. 7, a guide is conducting an activity that showsanatomic models of vegetal organisms to the public in the part of the exhibition thataddresses reproduction.

The conceptual proposal of the Biodiscovery Space exhibit promotes a kind of learningprocess, in which the visitor can choose to participate, or not, in those discussions.However, in these workshop activities, the guides control and promote this process. Asstated by one conceptor, explaining the educational proposal of the exhibition:

It is a constructivist approach, each space [in the Museum of Life] was created tointerpret this proposal, in the entire conception of the museum. We believe in thiswork, and it is closely related to the mediators, hence establishing a dialogue. (LM-3)

Bernstein (1998), discussing how framing works, explains that in general, when theframing is strong, a visible pedagogy is presented and, in that case, the rules of theinstructional and the regulated discourse are explicit. On the other hand, when the framingis weak, there may be an invisible pedagogy, where the rules are implicit and the acquirerdoes not recognize most of them. In this case, how clear are the expositive discoursecontrol mechanisms to the audience? Is this pedagogical practice at the expositive dis-course visible or invisible at this exhibition under study?

Considering the control strategies promoted by strong framing through the text, objectsand space in the expositive discourse, but also considering the many possibilities of thevisitor to decide on what to do at the space, oriented by the elements in the exhibition, it isfeasible to believe that the Biodiscovery Space exhibit has a visible pedagogy, which thepublic understands through the expositive marks, how they can behave and explore andwhat contents they are supposed to learn and understand. However, more studies have to bedone to understand this fascinating process at museums.

Power operating by rules in the production of the expositive discourse

The exhibition that was the focus of this study is the result of the power relations estab-lished between disciplines, collections and ways to communicate and educate in a museumspace. This relationship confirms the pedagogical dispositive—the expositive discourse—that controls the pedagogical communication through a group of rules identified by BasilBernstein’s theories of distributive rules, recontextualization rules and evaluation ruleswhich are hierarchically related (Bernstein 1996).

In general, the distribution of rules control who produces and reproduces the peda-gogical text and who can innovate and create new meanings in the production process,separating and distributing the spaces and the agents of power. These rules regulate therelationships between social groups, forms of consciousness, and practice by distributingdifferent forms of knowledge, controlling who may transmit what to whom, and underwhat circumstances.


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In my data, it was possible to identify the main conceptors of the discourse, as they havethe power to decide what will be maintained or changed in the final product. The group,formed by specialists in medicine, history of science, biology, psychology, education andscience communication, control the selection of elements in the production process. Theyproduce the legitimate text, choosing the language, the images, the objects, the courses andthe times. As said before, they are part of the pedagogical recontextualizing field (PRF), asthey participate in the expositive discourse production. In this process, the recontextual-ization rules act, controlling the transformation of the original speech, selecting it andplacing it in a new context to relate with other new discourses, producing the pedagogicaldiscourse. However, those agents only partially control production, because they are facedwith some limits when seeking to impose their ideas, conceptions, opinions and desires.For example, many constraints imposed by the heritage preservation regulated what todepict and how to depict it. The strong classification principle of the disciplines show thenegotiations and the selections that make the final expositive discourse appear as a mul-tidisciplinary perspective of contents, which involves topics from biology, health andhistory of science.

Those recontextualization agents also decide what instructional conceptions will inspirethe exhibition design and what the guides will undertake during the mediation process. Theactors that produced the Biodiscovery Space exhibition have considerable autonomy in theofficial recontextualization field because they are not controlled by official mechanismsthat impose regulations on what or how to elaborate in an exhibition. Even though thecontemporary movement of science centers inspired them, as was stated by a conceptor(LM-5), they wanted to discover their own language that was a hybrid between a sciencecenter and a traditional museum. In that sense, the pedagogical perspective of construc-tivism inspired them in the preparation of the exhibits and the workshops developed byeducators.

To Bernstein (1998), evaluation rules have a strong influence on the subject identifyingthem from cognitive, social and cultural perspectives. The strong framing value of theBiodiscovery Space exhibition using promotes certain manners of visiting, observing,reading and exploring the space. Furthermore, even though the audience included a widerange of individuals and groups, the conceptors privileged the school visitor.

One curious example of how expositive discourse legitimates a type of discourse—while not legitimating others—can be observed when conceptors address evolution in thepanel at the exhibition.

It was once thought that every animal created by God was immutable. Would all ofthe animals that left Noah’s Ark, after the deluge, be the same today? If so, how canthe fossils of a wide variety of strange animals be explained?

This written text has the potential to motivate a public that is familiar with the theme ofevolution, often considered complex and contrary to the beliefs of some religious groups.

However, while religious discourse is confronted with the discourse of science and thevisitor is invited to reflect and observe the physical evidence of evolution in the exhibition,the importance of scientific knowledge in the expositive discourse is also reinforced. Thisexample shows how the instructional discourse is adapted in the textualization of theexhibition, in that: (1) it confronts the religious discourse—used as an approximation andcomprehension strategy with the public—and (2) is expressed as open and unansweredquestions that promote the visitor’s reflection and stimulates the observation of the objectsin the exhibition.

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The above example also shows an interesting aspect addressed by Bernstein (1999),when the relationship between horizontal and vertical discourse is discussed. The authorwho has common-sense knowledge, which is segmentally organized by culture and spe-cialized activities and practices, understands horizontal discourse. With regards to verticaldiscourse, it ‘‘takes the form of a coherent, explicit, and systematically principled structure,hierarchically organized, as in the sciences’’ (Bernstein 1999, p. 159). Access to this lastdiscourse is regulated in a given society by the power distribution that controls the cir-culation of such knowledge, its transmission and evaluation. ‘‘As part of the movement tomake specialized knowledge more accessible to the younger public, segments of horizontaldiscourse are recontextualized and inserted into the contents of school subjects’’ (Bernstein1999, p. 169). This occurs in order to facilitate access, among other goals. In my research, Iidentified the inclusion of religious discourse—the horizontal discourse of commonsense—that has an educational function.

The scientific discourse in the text, the images of the panel and objects appear morestrongly than the religious discourse, yet it is regulated by the discourse of education sinceparts of common sense knowledge—religion—are included in order to motivate andpromote the public’s understanding of the idea of evolution. The linguistic and imagerystructure of the panel—with the presence of a theme associated with common senseinterests, the wording of questions, the presence of drawings of the ark of Noah andpictures of living beings demonstrating the diversity and transformation of the species—denotes the submission of the scientific discourse to the discourse of education, whichregulates the production of the final text.

During the process that causes the scientific discourse to be regulated by the educationalone, the legitimated content is revealed. In a science museum, the religious discourse canbe called only a motivation strategy, but can never be assumed as a valid one. Thescientific content about evolution, underlined by texts and material, found in the exhibitionis such that it is socially and culturally relevant in the final expositive discourse. Fur-thermore, as evaluative rules that transmit criteria, the museography of the BiodiscoverySpace exhibition assumes an educational role because it is based on instructional theoriesthat intend to promote dialogue and knowledge construction by engendering a relationshipbetween the audience and the content expressed by the objects and texts in a particularspace and time. As pointed out, this evaluative rule of specialized time includes age andclass, text and space underscoring the idea that this is a legitimate place to learn in theacquisition process.

Final considerations

The analysis of the expositive discourse production of the Biodiscovery Space exhibitionusing data obtained through interviews with its conceptors, observations and documentaryanalysis, revealed not only the dynamics of specialization of the discourses involved in thisprocess, but also the relationship between the instructional discourse and the regulativediscourse within the Life Museum of the Oswaldo Cruz Foundation in Rio de Janeiro, Brazil.Some of these discourses are instructional: the discourse of biology and history of science.Others refer to the regulative discourse, such as the museological discourse, considering theentire chain, from acquisition to conservation, documentation, preservation and extraversionof the collection, the communication discourse and the educational discourse, related to theexplicit purpose of promoting the public’s understanding and learning of the scientificinformation provided in the exhibitions. In the expositive discourse, one can identify the


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recontextualization of the intellectual field of natural science or ‘‘the what’’ according toBernstein, and the social science fields of museological, communicational and pedagogicalfields, which, according to Bernstein, is ‘‘the how’’.

The elements brought here show how scientific discourse—the instructional discourse inBernstein‘s perspective—was not the only or more important discourse in the final dis-course of the exhibition studied. It is embedded in the others that are involved in theexhibition production—the regulative ones related to the social order. The structure of theexhibition is not based on the logic that came only from the scientific field. Other kinds ofknowledge participate in regulating this process.

It was also found that, like Bernstein’s pedagogical discourse, expositive discoursecannot be particularly identified with any of these other discourses. Data analysis revealsthe existence of a specific discourse exhibition, which relates not only to its objectives, butalso to the transformation of other discourses and knowledge from their own logic andprinciples, which are conditioned by aspects related to space, time, objects and otherelements that make up the exhibition. Its peculiarities are evidenced based on strongframing principles. For example, in the forms of presenting texts and objects used in theexhibition space, featuring a particular narrative that determines a special and uniquerelationship between knowledge and public.

It can then be said that the expositive discourse has aspects that bring it closer toBernstein’s concept of pedagogic discourse, because by not having their own discourse,conceptors shift to other discourses, including the discourse of competence—the scientificdiscourse—embedding them in the discourse of social order, regulative, values, from itsown objective.

The movement around the visitors and the public currently taking place in the museums,especially since the twentieth century, result in education playing a key role in thesespaces. This shows that the constituting dynamics of the expositive discourse is also theresult of broader political and social movements, which in turn also have a historicaldimension. When designing museum exhibits, and also when developing educational visitsby school and non-school publics, it is essential to consider the particularities of theexpositive discourse production and its articulation with other discourses, so that theseactions may have the expected educational outcomes.

There is an increasing need for professionals working in museums, especially educators,to be trained to understand the characteristics of this discourse as a way to develop theeducational aspect in those places. Especially important is an awareness of selection anddiscourse production mechanisms in museums, as well as the knowledge of the actors andagents involved, and the dynamics of the relationship between them which reveals themechanisms of power distribution among the agents, institutions and fields of knowledge.This approach has the potential to demystify the way knowledge is taught and learned inthese places. This expertise can assist both in the production of the most appropriateeducational strategies by the educators and to improve the quality of how these spaces areused by the different publics that regularly visit museums.

Appendix 1: Annotated visit to the exhibition

Held before the interview in the exhibition space

• I would like that you present the exhibition, in a broad manner, indicating the themes,emphasizing the elements deemed important, commenting on its structure, on the

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collection, on the circuit, on the public or any other information you deem to berelevant. During your presentation, I will ask questions, request clarification or makecomments. After the visit, some of these topics may be revisited in the interview.

Guiding themes of the visit:

• Theme of the exhibition• Museum project: how the proposal is being developed• Origin, maintenance, care and safety of the collection• Examples of situations experienced with the public• Analysis of problems and suggestions proposed

Interview script to the conceptors and/or coordinators of expositions

Name of the Institution:Name of Interviewee:Occupation:Education:Date:

I) Institutional association:

1) What type of relationship do you have with the institution?

2) How did your involvement with the exhibition come about?

3) What was your role in the development stages of the exhibition?II) Elaboration of the exhibition:

4) How was the exhibition elaborated?(team/staff, internal organization, deadlines,costs, etc.)

5) What is the exhibition about? What is its theme?

6) Why was this theme chosen?

7) What is the nature of the Museum’s collection?8) Was the Museum’s collection considered to be the object of the exhibition?a) If so, how? What was the patrimonial profile used?b) If not, why?9) How was the exhibition space chosen? What are the characteristics of this area/

space?10) What kind of infrastructure was designed for the exhibition (furniture, support

props, lighting, basic colors, etc.)?11) How was the expositive discourse elaborated? What are the characteristics of the

texts produced for the exhibition?III) Implementing the exhibition12) Were all the planning stages put into practice?

a) If so, how was it done? What were those stages?b) If not, what were the stages that were not performed? Why did this happen?

13) Were support materials or catalogs produced for the exhibition? If so, for whatpurpose? For what public?

14) Was the exhibition disseminated?a) If so, for what audience? For what purpose?b) If not, why?

IV) Analysis of the Conceptual Proposal


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15) What was the conceptual proposal of the exhibition?16) How was this proposal elaborated?17) Were previous studies conducted about the theme of the exhibition? What

kind? Was there a bibliographic review? Were consultations carried out withexperts?

18) How were the contents and concepts covered in the exhibition chosen? Why?19) How is the relationship between the existing research on knowledge and its

presentation in the exhibition?20) Are there themes or current scientific concepts present in the exhibition? Why?21) Were difficulties perceived in the presentation of some of the themes addressed

in the exhibition? Why?22) With regards to the museographic point of view, how you discern the relevance

of the exhibition?23) In your opinion, does the public understand the conceptual proposal of the

exhibition? Why does this happen?V) Assessment of the exhibition:

24) Has the exhibition undergone some sort of assessment?a) If so, what kind? With what objectives? Has some sort of reformulation been

proposed?b) If not, why?

20) What public visits more often the exhibition? Do you know why?

25) What, in your opinion, are the positives aspects, the strong elements of theexhibition? Why?

26) In what aspects do you consider it fragile? Why?27) Would you propose some type of modification in the exhibition? Why?28) In your opinion, does the public learn the concepts addressed in the exhibition?

Why?

Appendix 2: Table of observation and recording of the exhibition

Institution

Title

Theme

I—Conceptual proposal (epistemological approach)

II—Thematic development (museological approach)

II.1—ObjectsExposed

III—Museographic description: floor-plant

III.1—Expository space (general characteristics, security, climate control/environmental)

III.2—Expositive infrastructure (furniture, support, lighting, basic colors)

III.3—Language support (texts, labels, panels, illustrations, graphics and electronics)

III.4—Description of texts

IV—Catalogs/printed material

V—Supplementary resources

VI—Comments

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Martha Marandino is an Associate Professor in the Faculty of Education of Sao Paulo University, in SaoPaulo, Brazil, working in the Teaching Methodology and Comparative Education Department. She is thecoordinator of the Study and Research Group on Non Formal Education and Science Communication/GENNF/FEUSP (www.geenf.fe.usp.br) founded in 2002. Her research focuses on science museum educa-tion, science education and science communication, discussing the sociological and epistemologicaldimension of the educational process in museums and schools. The main focus of her research is tounderstand the pedagogic and didactical aspects of museum education, to include identifying the agents andinstitutions, which are involved in power relations of museum education activities.

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martha marandino - university of são paulo

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